320 kbps | 145 MB | LINKS

‘Sometimes Just The Sky’, is a celebration of her acclaimed 30-year recording career. The landmark record features new versions of some of Carpenter’s most beloved songs as well as one newly written song, which became the title track. Produced by Ethan Johns (Ryan Adams, Paul McCartney, Ray LaMontagne), the 13-track album was recorded entirely live at Peter Gabriel’s Real World Studios outside Bath, England. Over the course of her celebrated career, Carpenter has sold over 14 million records.

320 kbps | 138 MB | LINKS

Legendary Soul singer Bettye LaVette takes on the songs of Bob Dylan with her new album Things Have Changed.

Things Have Changed is the iconic singer’s tenth album and first album on a major label in nearly thirty years, and she tackles Dylan’s songs with the grit and experience that makes her one of the greatest living soul singers. Things Have Changed spans more than five decades of Dylan songs, from 1964’s immortal ‘The Times They Are A-Changin’ up to ‘Ain’t Talkin’,’ the epic final track on his 2006 album Modern Times.

Tracklist:

1. Things Have Changed 06:56
2. It Ain’t Me Babe 05:30
3. Political World 04:03
4. Don’t Fall Apart On Me Tonight 05:07
5. Seeing The Real You At Last 05:07
6. Mama, You Been On My Mind 03:46
7. Ain’t Talkin’ 05:40
8. The Times They Are A-Changin’ 05:08
9. What Was It You Wanted 04:42
10. Emotionally Yours 05:24
11. Do Right To Me Baby (Do Unto Others) 03:36
12. Going, Going, Gone 04:05

320 kbps | 113 MB | LINKS

The first indication that this album takes a different approach to Lindi Ortega’s existing work is the credits; they read like a movie presentation. Liberty “stars” Ortega “with” Steelism, “featuring” players from veteran Charlie McCoy to Skylar Wilson and “introducing” the Liberty Choir. Push play and you even get a 90-second introductory instrumental with music clearly influenced by Ennio Morricone, taking us directly into the Western scenario that serves as the backdrop for these songs.

Ortega’s fifth effort is divided into three parts (“Into The Dust Parts l, ll, and lll”) and yes it’s a concept set, something she’s proud to declare. But don’t let the somewhat pretentious connotations of “concept” deter you — hey, Willie Nelson’s Red Headed Stranger also slotted into that description — as these dozen selections and a handful of shorter connecting instrumental passages unfold with filmic intent.

Ortega could hardly have found better musicians to realize her vision. She’s primarily backed by Steelism’s Spencer Cullum Jr. on pedal steel and guitarist Jeremy Fetzer, a Nashville-based duo whose own predominantly instrumental work gravitates to a widescreen style. Musically, this leans to a windswept, dusty, Spaghetti Western vibe, weighty on an atmosphere that reflects Ortega’s fondness for Quentin Tarantino flicks. It’s heavy on ballads but with just enough dark, reverbed twang and occasional trumpet and Latin strumming to keep things from getting stuck in a Mexican B movie rut.

Lyrically, it helps to have Ortega’s track-by-track notes to understand and follow the story. Even with them, the concept is a bit fuzzy but there is death, desperation, séances, resurrection, and a transition from dark to light of a nameless protagonist, portions of whose philosophical journey seem to reflect that of the recently married Ortega. Thankfully, the singer-songwriter’s lovely, trilling voice and bold creative outlook allows the music to work without having to refer to, or even understand, the larger overall saga. Still, some tunes like the Tex-Mex title track, the rocking resurrection of “The Comeback Kid” and the ominous heartbeat-driven “You Ain’t Foolin’ Me” stand out amidst the predominantly ballad oriented fare.

It’s a compelling, often hypnotic listen and a huge leap forward for Ortega whose previous Americana work, as impressive as it was, just didn’t have the scope or imagination found in Liberty. Whether you absorb it in bite-size pieces or jump into the 51-minute deep end of the pool while reading the lyrics, this superb and challenging album can be appreciated and enjoyed on a variety of levels.

Artist:	Innov Gnawa
Title of Album:	Aicha
Genre:	Ethnic
Year of Release:	2018
Tracks:	4
Total Time:	29 minutes and 55 seconds
Format:	MP3
Bitrate:	320 Kbps
Total Size:	68.72 MB

Release: Innov_Gnawa-Aicha-WEB-2018-ENTiTLED

The post Innov Gnawa-Aicha-WEB-2018-ENTiTLED appeared first on AlbumDL.

320 kbps | 124 MB | LINKS

Tracklist:

01. Life in Pink 04:15
02. Call Me 03:32
03. Take Away 03:15
04. Hate You 03:23
05. Drink About You 03:12
06. Body Heat 03:04
07. Karaoke Kiss 03:52
08. Musical Theatre 02:57
09. California Poppies 04:20
10. Always Shining 03:33
11. Today 03:35
12. Twisted Up 03:27
13. My Little Alien 03:51
14. To the Music I Belong 04:29

320 kbps | 112 MB | LINKS

Although Dungeness retains the recognisable, trademark Trembling Bells band dynamic with its lineup – Alex Neilson, Lavinia Blackwell, Mike Hastings, Alasdair C. Mitchell and Simon Shaw – there’s also contributions from regular collaborator John Wilson (violin, penny whistle), plus a handful of extra musicians: Calum Calderwood on electric and acoustic violins, Allan Wright on symphonie (that’s a kind of early hurdy-gurdy, by the way), Paul Savage & Georgia Seddon on percussion, and three additional vocalists. But I could stick my neck out and offer the general observation that there’s a definite drawing-back from the highly heady psych-folk and medievalist antiquary of earlierTrembling Bells adventures and a forward-prog shift onto equally heady but altogether more rock-guitar-based tapestries redolent of a later age, the next room round on the haunted-house tour maybe. But interestingly too, the overall production of this new album feels less opaque and cluttered (thus less impenetrable) than some of Trembling Bells’s earlier records, with a more careful separation of parts and keener concentration on the guitar interplay than hitherto.

The album’s named after a particularly intractable geographical feature in the south of this country – a remote headland in deepest Kent that feels like another realm entirely, rather like the end of the earth as we know it. The title of the record’s opening track, Big Nothing, might thus be regarded as a mildly ironic description of that headland. A broad expanse of just over a minute’s duration, consisting of massive sweeping chords and a statement of quite possibly existential import – a kind of overture-without-beginners curtain-raiser for the big show that’s about to start. It has a majestic, if slightly end-of-the-pier chord progression, the kind of effect of drawing back the curtain on the stage show, perhaps. Your own reaction to Big Nothing may well be similar to that experienced by the group themselves when they visited Dungeness for the first time in 2015 and found it variously thrilling, and on the other hand flat, parched and arid – such minimalism has a habit of polarising reactions.

Big Nothing leaves us on the coastal edge, from which we’re plunged into a brooding, boiling ocean of psych fuzz and wah-wah guitars into which sails the stately Lavinia: this is Knockin’ On The Coffin (way up there into the stratosphere, but definitely not Heaven’s Door!). The cascading interlocking layers of guitar (style-wise aptly compared in Stewart Lee’s liner notes to the fretwork of SRC’s celebrated Gary Quackenbush, but less blisteringly upfront) grow ever more excitable and frantic before resolving into a majestic down-tempo coda. After which the chiming descending scale of My Father Was A Collapsing Star is by contrast almost pathetic, almost Robyn Hitchcock in its childishly weird imagery and faux-naïve vocal delivery, succeeded by a robust, full-on yo-ho-ho chorus of infectious charm. But then mid-track all this takes a sudden nosedive upwards, a turn into Astronomy Domine cosmic-freakout territory, before crash-landing back in Merrie England. The following track, Death Knocked At My Door, proves another extraordinary entry in the Trembling Bells canon, where a charging, galloping Doors riff and prominent organ ushers in Lavinia’s Siouxsie-Goth vocal with a dreamlike spacey bridge leading to a packed, energised (Creatures) percussion interlude, then it’s back to its mirror image for the unsettling closing sequence, and a cathartic final note held suspended in the air.

Christ’s Entry Into Govan (directly referencing James Ensor’s iconic 1889 painting, and – for me – also incidentally Adrian Henri’s creative response Christ’s Entry Into Liverpool) sets its nihilistic lyric about expectation never fulfilled to a surprisingly magniloquent mood and unhurried mid-tempo that gradually succumbs to the impatience of inevitability from the “to begin and never cease” mantra which builds and becomes ever more insistent as it spurs on an almost orgasmic accelerando and whirling-dervish fiddling that finally collapses under the weight of a peal of church bells sampled from the sanctity of a classic Powell & Pressburger film soundtrack.

The Prophet then plunges us into a grinding ’70s heavy-rock groove, apocalyptic Sabbath guitars with a splash of Purple organ and some hard-nosed wailing female vocal gymnastics recalling Babe Ruth’s mighty Janita: a nigh relentless (but hey, glorious) five-minute wall-of-noise. Devil In Dungeness lurches in on a sensuous, mystery-laden fractured rhythm that might almost be paying homage to the Canterbury bands. This Is How The World Will End at first seems something of a lull in the excitement stakes, or at any rate the least immediately arresting track, with an almost Handsome Family surreal tale set to a comparatively unmemorable melody; only the epic spaghetti-western-cum-Big-country instrumental-break guitarscape sticks in the memory to any real extent, bringing us back to the concept of the sprawling widescreen wastes of Dungeness perhaps.

Alex describes penultimate track I’m Coming as “a study in suffering and transcendence and culpability” that’s lyrically “very much in debt to Oscar Wilde’s De Profundis”. It’s one of Trembling Bells’ more directly listener-friendly creations, voiced in the Jefferson Airplane strain of electric folk-rock and climaxing with a typically Lavinia vocal swoop skywards before a lumbering neo-psychedelic coda. “I wanted the end section to sound like a gigantic structure rusting in the middle of the sea”, Alex says – which however doesn’t explain the track’s unreasonably abrupt cutoff.

Finally, we come to the enigmatic mythos that is the closing track Rebecca, Dressed As A Waterfall. This I suppose represents more customary Trembling Bells territory, its placing as the album’s end-game rather calling to mind a comparable positioning of The Circle Is Unbroken on the Incredible String Band’s Wee Tam & The Big Huge set. This impression is reinforced by a certain kinship in terms of musical character – a strongly folk-traditional ambience to Lavinia’s almost sean-nós vocal keening set to a primal drone backdrop of haunted, bleak whistle and drifting, clangorous dulcimer-like electric guitar (supported by the above-mentioned symphonie), to which are added a swooning violin and tumbling drums and a rather odd, somewhat misplaced twitter of bird-calls that render the remainder of the texture more cacophonous than concordant.

Dungeness forms both a logical next-tableau in their “constant pageant” and an equally logical temporal advance into a brave new world of harder-edged power-folk-rock, also providing further persuasive evidence of the ever-broadening evolutionary (and revolutionary) scope of their music. Trembling Bells are still very much a force to be reckoned with, of that let me leave you in no doubt.

320 kbps | 143 MB | LINKS

Hensley’s name will forever be associated with Uriah Heep, with whom he found fame as a keyboard player, occasional guitarist and vocalist, and primary song writer, during the 70s. A member of pre-Heep bands The Gods and Toe Fat, he performed on and wrote or co-wrote many of the bands biggest hits, including ‘Free Me’, ‘Lady In Black’, ‘Look At Yourself’ and ‘Easy Livin’.

Post Heep, solo work aside, he has also worked with Blackfoot, John Lawton and WASP, amongst others.

This new album collects a some of Hensley’s best solo work, some previously unreleased work, and re-workings of a Uriah Heep classic or two.

Here the emphasis is on the songwriting and production more than rocking out, as opener ‘Free Me’ shows – the sweeping strings are a nice touch and go well with the strumming. The vocals are big (but will never match Byron or Lawton), and the track has some wonderful melodic moments. ‘Send Me An Angel’ starts more atmospheric and even when it builds and gets heavier, it has that drifting by feel, even as a power-ballad.

There are some great piano and guitar moments, ‘If I Had The Time’ a classic example. The reworkings of the Heep tracks are interesting and in places take quite a different angle, but the rest of the work is of more interest to fans of his solo work and completists.

It is appropriate that this, British-based Sons of Kemet‘s third album, should be released under the Impulse banner. During its heyday, Impulse was the home of John Coltrane, Alice Coltrane and Pharoah Sanders and as such was the chief platform for the cosmic/spiritual jazz movement of the 1960s and 1970s and that movement’s demand for white-majority society’s recognition of black culture and respect for black people. In 2018, the multi-racial Sons of Kemet, led by tenor saxophonist and composer Shabaka Hutchings, is a prominent British driving-force behind a similarly politically-assertive genre reboot. So many of Hutchings’s musical heroes — who include the Coltranes and Sanders — have been housed under the label, that he says, “It’s an honour to join the family.”

130 MB  320 ** FLAC

And just in case anyone misses it, Mzwandile Buthelezi’s cover art—not just the album spine—is rendered in Impulse’s signature orange and black.

Your Queen Is a Reptile offers a stripped-down alternative to the sometimes overlong and overbaked cosmic offerings of artists such as Kamasi Washington. Washington’s otherwise excellent triple-CD debut, The Epic, would have been improved by rigorous editing, and less wafting and warbling from its heavenly choir. (Excessive running-time was addressed on Washington’s follow-up, Harmony of Difference. Saccharine choral overload, unfortunately, was not). The nine tracks on Your Queen Is a Reptile, by contrast, are paragons of concision and grit.

More importantly, perhaps, unlike Washington’s take on cosmic jazz, the Sons of Kemet’s music is explicitly grounded in everyday life, specifically the everyday life of people of African-Caribbean heritage living in Britain. Performance poet Josh Idehen adds excoriating verses to “My Queen Is Ada Eastman” and “My Queen Is Doreen Lawrence,” and toaster Congo Natty rides “My Queen Is Mamie Phipps” dub style. All nine tracks are named after women of African heritage, and the sleeve notes contain a hard-hitting refutation of the relevance of the British monarchy to Britain’s immigrant diaspora.

The line-up on the album differs a little from that on Sons of Kemet’s debut, Burn, and second album, Lest We Forget What We Came Here To Do. Hutchings and Theon Cross, who replaced tuba player Oren Marshall on Lest We Forget, are both still here. But the high energy, yet light footed, twin-drummer team of Tom Skinner and Seb Rochford is expanded on some tracks to a trio by Moses Boyd or Eddie Hick. There are also guest appearances by saxophonists Nubya Garcia and Pete Wareham.

The title Your Queen Is a Reptile, by the way, references the surprisingly widespread belief that the members of the British royal family are all shape-shifting lizards from an alien civilisation. The jury is still out on that, but not on the inspirational lives of the women cited in the track titles. As large chunks of British society, and parts of American society too, whip themselves into an orgy of excitement over the upcoming marriage of Prince Harry and Meghan Markle, Your Queen Is a Reptile offer a timely antidote—and one given added impact by the multi-racial composition of the band. – AllAboutJazz

Personnel: Shabaka Hutchings: saxophone; Pete Wareham: saxophone (track 4); Nubya Garcia: saxophone (track 7); Theon Cross: tuba; Tom Skinner: drums; Seb Rochford: drums (tracks 1, 2, 4-6, 8, 9); Moses Boyd: drums (tracks 3, 7, 8); Eddie Hick: drums (tracks 3, 7); Maxwell Hallett: drums (track 9); Josh Idehen: vocals (tracks 1, 9); Congo Natty: vocals (track 2).

Artist:	WELL DON
Title of Album:	Mwen lov
Genre:	Ethnic
Year of Release:	2018
Tracks:	1
Total Time:	4 minutes and 9 seconds
Format:	MP3
Bitrate:	320 Kbps
Total Size:	9.56 MB

Release: WELL_DON-Mwen_lov-WEB-FR-2018-AZF

The post WELL DON-Mwen lov-WEB-FR-2018-AZF appeared first on AlbumDL.

Artist:	Stony
Title of Album:	Que Toi
Genre:	Ethnic
Year of Release:	2018
Tracks:	1
Total Time:	4 minutes and 24 seconds
Format:	MP3
Bitrate:	320 Kbps
Total Size:	10.15 MB

Release: Stony-Que_Toi-WEB-FR-2018-AZF

The post Stony-Que Toi-WEB-FR-2018-AZF appeared first on AlbumDL.

Steve Reich
Pulse / Quartet
(Nonesuch, 2018)
more details

320 kbps | 123 MB | LINKS

The Watersons were the single most important and influential group of the folk revival in the 60’s, this 15 track overview spans over forty years, from the original group’s ‘Three Score and Ten’, recorded in 1964 for the Topic sampler New Voices, through to ‘Jacobstowe Wassail’, recorded by Waterson:Carthy in 2006.

The Watersons created a near devotional sound which in atmospheric, intimate folk clubs was as thrilling as rock ‘n’ roll to attendees. The Watersons repertoire and power of performance was as singular as ever but a much more closely guarded secret. “Folk clubs had an audience of millions”.

Green Fields was the final Watersons’ album in 1981 but they continued touring. Lal and Mike retired from the road ten years later although they continued to record individual projects and tracks like ‘The Wealthy Squire’ is from Lal and Norma’s A True Hearted Girl LP featuring Lal’s daughter Maria who also sings on Mike’s self-titled debut album, represented here by the track ‘The Light Dragoon’.

Another delight from this release is ‘Once In A Blue Moon’, written by Lal, and sung by Norma. It was recorded for the first time on Mysterious Day, the debut album by Lal’s son Oliver Knight. Waterson:Carthy bring this collection to a fitting close with ‘Goodbye, Fare Thee Well’.

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